SELECTED
Mythological Subject Oil on Canvas Italy XVII Century

The Tale of Apollo and Marsyas

Code :  ARARPI0167017

SELECTED
Mythological Subject Oil on Canvas Italy XVII Century

The Tale of Apollo and Marsyas

Code :  ARARPI0167017

Mythological Subject Oil on Canvas Italy XVII Century - The Tale of Apollo and Marsyas

Features

The Tale of Apollo and Marsyas

Work title:  La favola di Apollo e Marsia

Art School:  Northern Italy School

Time:  17th century - from 1601 to 1700

Subject:  Allegorical / Mythological Subject

Origin:  Italia

Artistic technique:  Pittura

Technical specification:  Oil on canvas

Description : La favola di Apollo e Marsia

Oil painting on canvas. Northern Italian school of the seventeenth century. The large canvas derives from an engraving of 1562 by the Venetian Giulio Sanuto, who faithfully reproduced the homonymous work by Bronzino (1503-1572), currently preserved in the Hermitage; compared to the original, the engraving added the group of Muses and modified the landscape background by introducing views of the villages. The work is divided into four scenes, which must be read from right to left. The first scene depicts the musical contest between Apollo and the Silenus Marsyas, who played the flute so well that he was considered superior to the same god; the two contenders are performing, the god with the lyre and the silenus with the flute even upside down (to increase the difficulty of the undertaking), in front of King Midas and the goddess Minerva, recognizable by her attributes, the helmet, the spear and the shield. In the second scene Apollo is intent on skinning Marsyas, to punish him for having won the musical contest; lean on the ground next to him, his cloak and lyre. In the third scene, it is King Midas who is punished by the god for having preferred Marsyas to him: Apollo is putting the donkey's ears on Midas, while Minerva is watching. Finally, the fourth scene, in the foreground on the left, is characterized by a particular figure, identified in the faithful servant and barber of the king: since Midas had ordered him to keep the secret on his donkey ears, not being able to let off steam otherwise, he dug a hole in the ground and yelled into there his secret; in that place, however, legend has it that a bush of reeds grew that with the wind whispered "King midas has donkey ears", thus revealing the dreaded secret. The painting has been previously restored and relined, but currently needs any further color recovery. On the back in pencil there is an old attribution to the Ferrara school ("Ercole da Ferrara"). It is presented in a late 19th century style frame.

Product Condition:
Product in fair condition showing some signs of wear.

frame Size (cm):
Height: 130
Width: 268
Depth: 13

work dimensions (cm):
Height: 105
Width: 243

Additional Information

Art School: Northern Italy School

Time: 17th century - from 1601 to 1700

In the seventeenth century, art was strongly conditioned by the religious problem: the Church was still one of the greatest patrons of works of art and used them to fascinate and impress the faithful, exalting salvation, reachable only with fidelity to the Church. 17th century art is therefore an educational tool, produced to be enjoyed and understood by many. Thus, the scenes that face the representation of an imaginary reality are accompanied by the analysis of the details and the great clarity of the environment, in order to propose every fiction as real and with the intention of emotionally involving the observer, making him live. in a subjective way an infinite and grandiose reality, also reflects the artist's desire to express himself freely: in fact he does not bend to pre-established schemes, he does not use rigid, contained forms, organized in rigorous compositional symmetries, but free, open and articulated forms . The art of the 1600s is therefore a representation, the purpose of which is to impress, move, persuade; it is the product of the imagination and its purpose is to persuade that something not real can become real. This complex artistic phenomenon is traditionally defined as Baroque, and its birth takes place in Rome between the third and fourth decade of the seventeenth century, where it is eminently represented by the work of Gian Lorenzo Bernini, Francesco Borromini and Pietro da Cortona. , even if the fundamental junction is constituted by the work of Caravaggio. The movement then spread throughout Italy and Europe (we remember in particular Rembrandt, Rubens, Velazquez), in the world of arts, literature, music, and in numerous other areas, until the mid-18th century.
Find out more about the 17th century with our insights:
Between Baroque and Baroque
Erminia meets the shepherds, Camillo Gavassetti / XVII Century

Subject: Allegorical / Mythological Subject

Artistic technique: Pittura

La pittura è l'arte che consiste nell'applicare dei pigmenti a un supporto come la carta, la tela, la seta, la ceramica, il legno, il vetro o un muro. Essendo i pigmenti essenzialmente solidi, è necessario utilizzare un legante, che li porti a uno stadio liquido, più fluido o più denso, e un collante, che permetta l'adesione duratura al supporto. Chi dipinge è detto pittore o pittrice. Il risultato è un'immagine che, a seconda delle intenzioni dell'autore, esprime la sua percezione del mondo o una libera associazione di forme o un qualsiasi altro significato, a seconda della sua creatività, del suo gusto estetico e di quello della società di cui fa parte.

Technical specification: Oil on canvas

The oil painting is a painting technique using powder pigments mixed with bases in inert and oils.

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